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Placing Rita Indiana's novels and songs in dialogue, this article demonstrates how the formal techniques she deploys to move between text and sound recover an aural dimension of ekphrasis that has been muted by its visual emphasis in poetics. It is then shown how Indiana's ekphrastic conjuring of music and other commodities parodies the neoliberal conjuring tricks of the political economy in which her novels and songs take shape. Finally, Hankin links the conjuring magic of ekphrasis and neoliberalism to the divination of Afro-Caribbean conjurers and the possibility of time after neoliberal catastrophe.

This article examines Annie Ernaux’s Les Années at the intersection of identity as ipse and as idem . On the one hand, identity is attached to the notion of self ( ipse ): objectifiable and changing, it emerges via the cultural phenomena inscribed into the text. On the other, identity is conceived as permanence over time ( idem ) and is found in the descriptions of photographs, corporeal sensations, and metaphors of identity Ernaux employs (Dorothea Tanning’s Birthday , the Matryoshka doll set). Depicting these two views simultaneously, Ernaux crafts an autobiographical subject as bound to the collective body while also remaining uniquely singular.

The differentiation between the experience of mothering and the institution of motherhood by Adrienne Rich changes the way that maternity is conceived. Viewing motherhood as a socially constructed, historically and culturally specific relationship direct our attention to the issues of gender, class, and ethnicity in mothering. This article contemplates on mothering/motherhood across cultures by exploring the mother images in Big Breasts and Wide Hips (Yan Mo), White Teeth (Zadie Smith), and The Kitchen God's Wife (Amy Tan), written by a Chinese, a British, and an Asian American writer, respectively. These novels critique the motherhood discourses that idealize mothers or marginalize nonwhite/working-class mothering. A comparative study of the novels indicates that cultivating an awareness that motherhood is a social and cultural, rather than biological inscription, is central to female agency, and that a mothering consciousness aligned against patriarchy and colonialism is essential for female empowerment.

Soledad Acosta de Samper (1833-1913), a prolific Colombian author of the nineteenth century, has been studied in recent decades in connection with other women writers of the post-independence era in Latin America. Her texts reveal influences of Romanticism and Realism, which have been signaled previously by critics such as Azuvia Licón Villalpando, but they also demonstrate Gothic elements, as researchers such as Felipe Martínez-Pinzón have described (Licón Villalpando 330; Martínez-Pinzón 391).1 Martínez-Pinzón explores components of the Gothic and identity in Acosta de Sampers novel Dolores (1867), but there is much more that could be said of Acosta de Sampers creation of Gothic spaces in her fiction. In this paper, I examine how other narratives by Acosta de Samper in Novelas y cuadros de la vida Sur-Americana (1869), such as the story Un crimen and the short novel Teresa la limeña, reveal divisions between urban and rural spaces and fantasy and reality that demonstrate the authors perceptions of pernicious places.

This essay analyzes positive representations of superstition and aged femininity in Emilia Pardo Bazán’s travel narrative “En el castillo de Sobroso” (1888) and her short story “La Santa de Karnar” (1891). These works rewrite negative narratives of aging popular in Galician folksongs, which frequently targeted elderly peasant women (vellas) as objects of satire and ridicule. I argue that the positive framing of feminine senescence in these texts reflects the Galician author’s desire to incorporate both regional and feminine discourses into her articulation of the Spanish nation. Through her authorial intervention, Pardo Bazán positions herself, not unproblematically, as a privileged arbiter of Galician popular traditions, co-opting the vella into her cosmopolitan self-fashioning as a cultural elite.

\"At the time of its serial publication, The Massacre of the Amazons was a great success because it reflected the concern of the society of the Belle Epoque in the face of the growing importance of women’s literature. Its author, Han Ryner, did not cease to denounce the ridicule of these women who denaturalized themselves by appropriating the masculine privilege that is fictional writing. He was indeed ruthless for the novelists. But while expressing his hatred, he did not realize that his satirical work was involved, in different ways, in the promotion and recognition of feminine writing\"

Se trata de una reseña de: Loche, Annamaria (2021): La liberté ou la mort. Il progetto politico e giuridico di Olympe de Gouges. Epílogo de Thomas Casadei. Módena: Muchi Editore, pp. 153.

Our aim with this special issue is to revise the debates on the female fantastic from a transnational perspective. We do this by bringing together a group of international scholars who integrate the Grupo de Estudios sobre lo Fantástico (Research Group on the Fantastic). Our contributions question from different perspectives whether there is a common denominator that unifies female texts of the fantastic. We converge on the need to gender the supernatural and on a feminist standpoint in our approach, highlighting the potential of the supernatural in fiction to subvert gendered expectations and norms. We start from a conceptual distinction between the adjectives female and feminine when applied to the fantastic text. Although this distinction is at times slippery, with the “feminine fantastic,” a term that features more frequently in research in Romance languages, we mean a series of themes and characterizations attributed to what conventionally is known to “interest” or to “represent” women in texts of the supernatural. Instead, the term “female fantastic” is employed here more neutrally following the definition offered by Rebecca Soares et al.: a form of the supernatural produced by “female-identified authors […] explored from intersectional feminist lenses across decades” (xviii).

As an author and scholar in Puerto Rico, Vanessa Vilches Norat has created the space to politicize both the female body and the nuclear family unit, especially in her work on motherhood.7 In Vilches Norat’s corpus, the figure of the mother and the experience of motherhood have acquired a central focus to combat the silencing and invisibility of the maternal in the Caribbean scholarly canon.8 Instead of privileging the paternal or patriarchal, Vilches Norat constructs a female literary genealogy beginning with the mother and with the maternal discourse, or as she calls it, the matergrafía, which is the root of the autobiographical discourse and text. This subversion that Dávila Gonçalves draws attention to is especially true in the short story, “Del dulce olor de sus pechos”, the only story that chronicles the pregnancy of the protagonist. As I demonstrate in this article, instead of showcasing more conventional notions of the gestation process, the focus of this short story is the pregnant body as an erotic body. “Del dulce olor de sus pechos” narrates the protagonist’s erotic awakening, detailing the heightened carnal cravings that the protagonist experiences for her own body as well as her increased desire for sexual encounters outside of her marital relationship. Traditionally conceived as a deeroticized body, the pregnant body gains visibility in this short story as both a desiring and desirable body.